Tag: if

Short Story Review: “It Takes a Thief” by Walter M. Miller, Jr.

December 13th, 2024

(Cover by Ralph Joiner. If, May 1952.)

Who Goes There?

It’s been a long-term goal of mine to review every single one of Walter M. Miller’s short stories and novellas, since all of them were published in the magazines—yes, even the stories that would make up A Canticle for Leibowitz. While he is known now for pretty much just that novel (it is, after all, the only novel he managed to finish in his lifetime), Miller wrote short fiction fairly prolifically, from his debut in 1951 until he began work on the Leibowitz stories. Those first few years, incidentally when the genre magazine market was seeing a huge bubble, were especially productive for him. Miller served as a bomber crewman during World War II, an experience that seemed to give him profound mental health issues as well as compell him to convert to Catholicism, and indeed he falls into one of my favorite kinds of writer: the depressed Catholic. Despite being active in the field for only about a decade, before going into a hybernation from which he would never truly emerge, Miller was honored with two Hugos. He killed himself in 1996, after the death of his wife and having apparently given up on the Church. He left the long-anticipated follow-up to A Canticle for Leibowitz, Saint Leibowitz and the Wild Horse Woman, to be finished by Terry Bisson, whom Miller had personally chosen and provided with notes. “It Takes a Thief” is the earliest and easily the weakest of the Miller stories I’ve covered, but it’s still a fine read and has several points of interest.

Placing Coordinates

First published in the May 1952 issue of If. It has, so far as I can tell, never been anthologized in English, but it’s been included in seemingly every Miller collection over the years, including The View from the Stars and Dark Benediction. Miller let some of his stories fall out of copyright, including this one, so you can read it on Project Gutenberg.

Enhancing Image

Asir is having a bad day, namely that he’s been crucified, spikes through his wrists like Christ, as punishment for being a thief—not a thief of material things, but of specific, secret phrases. “A ritual-thief caused havoc in the community. The owner of a holy phrase, not knowing that it had been stolen, tried to spend it—and eventually counter-claims would come to light, and a general accounting had to be called.” This is not Earth in distant past, and Asir is not the thief who hung dying next to Christ as written in the Gospels, but on Mars, in the future. Humanity has colonized Mars, but seemingly in the process lost its way. Time has been flung backwards as with a slingshot. The crucifixion is not the punishment either, but merely the prelude to the real punishment, either something relatively minor (losing a finger) or death, Asir not knowing which. His “accomplice” (it’s actually ambiguous what their relationship is supposed to be), Mara, is supposed to have gotten word back to him as to his punishment, but it seems she may have betrayed him. This turns out to not be quite the case, but Asir is still very cross with her when he’s finally let down from the crucifix and his arms bandaged. Mara had slept around a bit in order to lighten Asir’s punishment, although the elders say it’s due to his very young age: the punishment is banishment from the village. Asir is to venture out to hills, which doesn’t bother him much given that he was born there. But he has other plans.

“It Takes a Thief” is basically an adventure narrative who conclusion is obvious—maybe not as obvious in 1952, but who’s to say? It has some of the trademarks of a “gritty” ’50s SF adventure, including commentary on the prospect of nuclear destruction, and a hard-as-nails anti-hero who, if we’re being honest, is kind of a shithead. Asir is not secretly a nice person under his grizzled exterior; indeed the only thing that makes him better than the village elders is that he cares about helping humanity at large, even if on a micro level he’s a mean son of a bitch. Why someone who was raised “by a renegade” of a father, in the hills, apart from what civilization is left on Mars, would care so much about restoring humanity to its former glory, is unclear. It’s also unclear why Asir and Mara are together, since the former goes so far as to even threaten to kill the latter. (Asir is clearly an abusive partner, but never sees repercussions for his behavior, nor does Mara seem to mind much ultimately that Asir had threatened her life.) If this story has an Achilles’s heel, it’s the general unlikability of the few characters who take center stage. For what it’s worth, Asir’s slut-shaming of Mara is kept to a minimum, and the latter’s sleeping around is framed as a pragmatic move that “had to be done.” (I’m reminded of Miller’s oddly sympathetic treatment of sex workers in “The Lineman.”) The idea could be that Mars society has devolved into a dog-eat-dog world, such that even the most well-meaning of people have a dark side to them, but there’s also not enough psychology present for me to relate to these people.

Despite its ruggedness and pulpy style, though, this is still at its core a Walter M. Miller story, which means it’s about life and death, and especially man’s capacity to destroy or redeem itself. Indeed the quest Asir and Mara go on to enter the vaults, a forbidden place outside the village, guarded by a mysterious creature named… Big Joe (well that’s a bit silly). The quest to rekindle humanity’s thirst for knowledge and technology strikes me as a half-formed, more juvenile version of what Miller would explore in A Canticle for Leibowitz. I’m pretty sure that “It Takes a Thief” is by no means the only protoype in Miller’s oeuvre, of course, as from what I’ve read his short fiction writing progressed such that he was setting himself up for his big novel. I liked “The Darfsteller” and “The Lineman,” and really liked the much-overlooked “Wolf Pack.” “It Takes a Thief” is not as good as the aforementioned stories, due in part to its roughness of style and characters, its brevity, and the feeling that Miller was still working well within the constraints of pulp SF writing. At the same time it’s easy to see by the time we get to the back end of the story that while he was still quite young (about my age, which does give me a pinch of existential anxiety) and early in his writing career, Miller was on his way to becoming one of the most morally serious SF writers of his generation.

There Be Spoilers Here

A theme that clearly haunted Miller on a personal level, and which would inform a great deal of SF in the ’50s, is the problem of nuclear annihilation. This is especially pertinent for an at-the-time devout Christian like Miller, as it poses a troubling question: If Christ had suffered and died so that humanity may be saved, then why do we now have the ability to destroy ourselves with the push of a button? As Mara quips, once she and Asir have gotten past Big Joe via an elaborate floor puzzle, “The ancients weren’t so great.” They venture into the depths of the vaults and see, on a wall, an engraving of our solar system—only here they see something they do not recognize: a planet between Venus and Mars. Earth. Many years ago man had destroyed Earth and it became an asteroid belt between its neighboring planets. This is the most effective moment in the story, and it’s genuinely haunting, the kind of punch to the gut that Miller can be really good at. It may be obvious, the revelation that Earth got blown to bits, but it’s an image that feeds into the tug-of-war between Miller’s anxiety and depression over humanity’s future—or possible lack of it.

A Step Farther Out

I have to admit I picked this one because it was free to read online, and also I was intrigued by the premise, though it ended up not being as good as I had hoped. Do I regret this? Of course not, I was gonna review this story at some point, as like I said I hope to review all of Miller’s short fiction. This will probably take… a couple decades. Assuming this site still exists in twenty years, or if I still will. The future is foggy, and caked in mud. I personally don’t think I’ll be able to review them all.

See you next time.
Novella Review: “Birthright” by April Smith

May 3rd, 2024

(Cover by Kenneth Rossi. If, August 1955.)

Who Goes There?

It’s May 3, 2024, and I’m being forced to live in interesting times. College students are protesting an ongoing genocide in a country that the federal government and American military contractors support, and the antediluvian head of state is calling for protests—not real protests, but more like when a bunch of people sit in a circle and chat like it’s a fucking book club or AA meeting. Conservatives want protesters’ skulls crushed, liberals also want protesters’ skulls crushed but are usually much more “polite” about wishing violence upon people who were born literally this century and who are committing the “crime” of being disgusted with American complicity in atrocities. And worst of all, it’s an election year. Is this 2024 or 1968? You may be thinking, “Brian, you’re being awfully political right now, and also you’re dating your review.” You’re right on both counts. In fact I dated it at the very start. Of course people might not know about this blog in five years, or even know what America is—or was.

Not that the above is strictly irrelevant either, since today’s story is also about the folly and immorality of empire, although its conclusion is much more optimistic than what I’ve been able to consider for the current real-world situation. I haven’t said anything about April Smith yet because unfortunately I can’t say anything about April Smith, although I can say a good deal about the fact that I have nothing to say about her. Smith has two stories to her name, with “Birthright” being her only solo work, and in neither case do we get any biographical information in the introductory blurb. We don’t know when she was born or when she (probably) died, where she grew up, what non-genre work she might’ve done, or even if “April Smith” is her real name. She is, like too many lady authors who were active in ’50s genre SF, a ghost of that era.

Placing Coordinates

First published in the August 1955 issue of If, which is on the Archive. It would not be reprinted in any form for over sixty years; for better or worse Smith let it fall out of copyright, so the full story is on Project Gutenberg. It would finally be reprinted in book form in Rediscovery: Science Fiction by Women (1953-1957), editor unknown.

Enhancing Image

Cyril Kirk is an ambitious young man, top of his class, and while some dudes might want a fancy car or a high-powered gaming laptop, Kirk wants a planet that he sees as worthy of patronage. And theoretically at least he has options: the Galactic Union contains dozens of worlds, mostly for the purposes of colonization and resource mining. Unfortunately Ross, Kirk’s superior, makes him a planetary advisor on one of the most obscure and least valuable worlds in the Union: Nemar. Even someone as well-read as Kirk can’t remember this planet off the top of his head, and further research doesn’t help much. “The documents on Nemar, all the information he could dig up, confirmed Ross’s statement that the planet held nothing of commercial value.” So he’s been assigned a planet that, at least as far as the Union is concerned, is basically worthless. It won’t be a short assignment either: five mandatory years, plus five optional, although Kirk suspects he won’t be using those extra years. He won’t be the only Terran on Nemar, but that won’t help him much either, since we soon learn the people he’ll be working with are as enthusiastic about making the natives useful as he is.

Once we land on Nemar, a few things become clear: the natives have no interest in contributing to the Union, and perhaps more importantly, they seem like they have no need to. I have to stop for a second here to say that “Birthright” is overtly a narrative about colonialism, about a member of the empire trying (and spoilers, failing) to “enlighten” the indigenous population. Overall it’s a pretty progressive-minded story, actually far more left-leaning for the ’50s than I had expected, but it does also play into Orientalist fantasies, what with the natives of Nemar being perpetually semi-nude (although they consider it to be normal attire), conventionally attractive yet exotic, and they’re described several times as “naive” and “childlike.” Nemar is clearly supposed to be like a paradise, like vacationing on one of the Hawai’ian island. Incidentally it’s noted at the beginning that the natives are basically homo sapiens, just with a unique skin complexion, and that Nemar itself is very similar to the tropics on Earth. If you were to adapt “Birthright” for film or TV (and you could do that without the headache of securing rights, since it’s public domain), you would probably shoot in Hawai’i, or maybe Samoa if you’re feeling a little more adventurous. My biggest gripe with the story, aside from its lack of a solid ending (will get to that), is that while it’s a cutting criticism of colonial arrogance, this criticism is also undermined by now-outdated racial politics.

While reading I was reminded most of Joseph Conrad, and also the movie Fitzcarraldo. Both Apocalypse Now and Fitzcarraldo are movies about arrogant white men in exotic locales, with the explicit and implicit comments on colonialism; and there’s also the fact that both are infamous “I will kill everyone on this set and then myself for the bit” movies. “Birthright” is nowhere near as daunting; if anything it comes close to being a fish-out-of-water comedy. Kirk has a native woman, Nanae, who looks after the house he’s been given, and he practically trips over his own cock trying not to ask for this woman’s hand in marriage upon first seeing her. He cannot come to terms with the fact that he is super-horny over Nanae and it embarrasses him, not least because fellow Terrans in the village (including Jeannette, an actual Earth woman) see his plight for what it is immediately. Indeed everyone seems to see right through Kirk except for Nanae, although it’s possible she knows and is too polite to say anything. The lax attitude of the other Terrans, who at this point are more expats than workers of the Union, also troubles Our Hero™, as if something in the air has changed them, made them forget their purpose here. “Somehow, the planet had infected them.” There must be some secret “weapon” the natives use to pacify the PAs, and Kirk’s gonna find out what it is.

Not to get nostalgic over an era I was not even close to being alive for, but I admire that at this time in SF history you could have stories with meaty ideas that were still only short stories or novellas. Nowadays it seems like if you wanna draw any attention in the field you have to write, bare minimum, a long novella (say close to 40,000 words) that would be too lengthy for magazine publication but just the right length for an overpriced Tor chapbook. “Birthright” just barely meets the SFWA criterion for novella length and, truth be told, it could’ve been a few thousand words longer; not saying this as a negative criticism. Smith’s style is breezy and on the side of minimalist. The story can be thought of less as a “story” and more like a series of Socratic dialogues, although these dialogues individually tend to be brief and there was never a point where I wondered if or when Smith would “get on with it.” This is not an action narrative; it’s about a man’s slow but sure transformation from an agent of the empire to someone who’s wondering if his bootlicking has been worth the effort—or even if it’s been well-intentioned. Nemar is basically a socialist utopia in the mode of what Ursula K. Le Guin might’ve envisioned (which has its own problems, but we’re not getting into that today), a society where there’s no fixed hierarchy, where parents respect their children, where money seems to be a non-issue, and where’s almost no industry to speak of.

There Be Spoilers Here

This leads to Kirk figuring out the planet’s “secret,” which is really that there is no secret. The natives have cultivated a society that’s founded on compassion, as opposed to most Union societies (and by extension our society) which are founded on protection of property. When Kirk tries to convince the village council on voting in favor of mining operations on the planet, the council votes no. The council’s rationale for this denial of industry is pretty hard to argue with, for both Kirk and the reader. An unnamed member of the council goes on by far the longest monologue in the story, and I may as well quote “all” of it here. I say “all” because the paragraph the monologue is a part of is even longer, if you can believe it:

“As you said, the mining is very hard, disagreeable work. We feel that when you begin to do disagreeable things for an end that is not valuable in itself, you are beginning to tread a dangerous path. There is no telling where it will end. One such situation leads to another. We might end up cooped up in a room all day, shut away from the sun and air, turning bolts on an assembly line to make machines, as we have heard often happens on Terra. […] Being surrounded by technical conveniences isn’t worth that. […] On Terra and on most of the other planets we have had word of, people seem to spend their time making all kinds of things that have no value in themselves, because they can be sold or traded. Other people spend their time trying to persuade people to buy these useless things. Still other people spend all day making records of how many of these things have been sold. No! This path is not for us. […] We don’t know how it came about that all these people spend their time at these unpleasant, useless things. They can’t have wanted it that way. No human being could want to spend his time doing silly, pointless things. How could you believe in yourself? How could you walk proudly? How could you explain it to your children? We must be careful not to make the mistake of taking the first step in that direction.”

So capitalism does not flourish on the planet, at least for now. Kirk is, at least professionally speaking, a failure; but at the same time he comes to realize he may have won on a personal and moral level—that by “giving in” to the ways of these people he seems on his way to redeeming himself. He accepts that he has become like a child again. He even ponders, at the very end, the possibility of earning Nanae’s affections and returning to Earth with her. This ending sentiment is fine, but also the story doesn’t so much “end” as it comes to a stop, which bothered me initially.

A Step Farther Out

I’m sort of dismayed it took seven decades for “Birthright” to appear in book form; surely this has nothing to do with the sexism of anthology editors in the ’50s until at least the ’80s. There are some pretty rotten stories from this era that have been reprinted multiple times, but not a genuinely interesting yarn like this one. It’s flawed in a couple ways, and I wish April Smith had continued trying her hand at genre writing (this was her second story and it would be her last, at least under the April Smith name), but it shows a level of ambition not too often found in ’50s genre writing. I get pretty sentimental about the ’50s in the context of genre SF because it really was like the Klondike gold rush for pulp writers, each author looking to make some kind of living off writing what was often perceived as childish at the time, looking to get lucky and even publish a bestseller. Most of the attempts would be failures, of course, but there are so many hidden gems from this period that I’m convinced that despite being so often mined for anthologies, we have not even come close to drying this particular well.

See you next time.
The Observatory: Damon Knight, Failed Magazine Editor

September 15th, 2023

(Cover by Ed Emshwiller. F&SF, November 1976.)

Sometimes the topics for these editorials can venture into “serious” territory, but this one is rather frivolous, being about a little footnote in genre history that nobody living today thinks about—probably not even the likes of John Clute. At the same time it’s such an odd footnote that I had to turn it into a thousand-word essay, so sit back and enjoy your coffee while I talk about one of the most important figures in old-timey American SF and how he, if not mostly for circumstance, could’ve been a very fine magazine editor on the level of Ed Ferman or even Anthony Boucher. There were brief spots in the ’50s, in fact, when Knight got the chance to flex his editing muscles—only he got the plug pulled far too early.

Knight, as you know, started out in the ’40s as a critic—arguably the first serious critic in American magazine SFF. He was a bratty 20-something who made no bones about his opinions, and it was also clear that he was a little more “literary” than the average bear, which would put him in the same boat as Brian Aldiss and fellow Futurian James Blish. Reviewers in the field at the time were sometimes accomplished writers who turned to reviewing, such as Boucher and P. Schuyler Miller, but Knight was a reviewer who then turned to writing fiction—almost as a way of proving that he could do himself what he wanted other writers to do. While his criticism is not what Knight is now most known for, he did win a special Hugo in 1956 for his book reviews, and no doubt his astute breaking-down of other people’s work led him to be just as demanding with his own fiction.

Knight’s success in fiction was not immediate, but 1950 would see two of his most famous short stories in print: “Not with a Bang” in the Winter-Spring 1950 issue of F&SF, and “To Serve Man” in the November 1950 issue of Galaxy. These are not works of great depth, but they are memorable and quite functional, being written very much in the O. Henry mode wherein we’re given a setup and a twist payoff in the span of ten pages or less. Knight would write more ambitious stories in subssequent years, but it can’t be denied that 1950 was a watershed year for him—and not just for his most remembered stories. Working as an assistant under Ejler Jakobsson, Knight got a first taste of what editing a magazine was like with the revived Super Science Stories, and this experience seemed to encourage him to strike out on his own and make a magazine in his own image.

Still only 27 when he would’ve begun work on Worlds Beyond, Knight got to start his new magazine with Hillman Periodicals, who, at a time when the SFF magazine market was about to explode, wanted a hit as soon as possible and had no patience when they didn’t get it. Worlds Beyond hit newsstands in November with the December 1950 issue, and for a first issue its contents certainly catch one’s attention. On top of original works by Fredric Brown, Mack Reynolds, C. M. Kornbluth, and future detective fiction heavyweight John D. MacDonald, we have reprints by a couple unusual names such as Franz Kafka and Graham Greene. Knight’s policy with reprints at first looks like he’s taking a cue from F&SF (which had quite a few reprints at the outset), and he probably was—but the choice in authors is telling. Whereas Boucher and McComas picked pre-pulp authors who generally were known for supernatural fiction, Knight picked authors who are not usually associated with genre fiction.

There was another reprint in the first issue of Worlds Beyond that should catch one’s eyes: Jack Vance’s “The Loom of Darkness,” published earlier that year in The Dying Earth as “Liane the Wayfarer.” Vance was still pretty early in his career, and The Dying Earth initially saw very little attention, being a small collection of connected fantasy stories that really did not read like anything else at the time; but clearly Knight was enamored with it. That issue of Worlds Beyond no doubt introduced some readers to the Dying Earth series. Vance would appear again in the February 1951 issue with “Brain of the Galaxy,” reprinted thereafter as “The New Prime.” Another author who clearly appealed to Knight was fellow Futurian C. M. Kornbluth, who also appeared in two of the three issues—although that latter appearance was reprints rather than original fiction.

Worlds Beyond obviously took after F&SF to a degree, but whereas F&SF started out as a “classy” genre outlet with more emphasis put on supernatural fantasy (it was indeed The Magazine of Fantasy initially), Knight was not afraid to print fairly pulpy science fiction if the actual writing—the substance of the work—met his standards. There was about a 50/50 split between original fiction and reprints, and for something that lasted only three issues there’s a disproportionate amount of notable work here, such as Vance’s “The New Prime,” Kornbluth’s “The Mindworm,” Judith Merril’s “Survival Ship,” William Tenn’s “Null-P,” and Harry Harrison’s debut story (he was already active as an illustrator) “Rock Diver.” Knight also ran the book review column for each issue, which makes sense considering he was already perfectly qualified for that job—and anyway Knight’s reviews are often informative, if caustic. This all seems like a recipe for success.

Worlds Beyond might’ve prospered, or at least survived until the market crunch of 1955, if not for Hillman Periodicals seeing the lackluster numbers for the first issue and immediately pulling the plug. The second and third issues were already being printed when the magazine got the ax, so we’re lucky enough to have three issues instead of just one. Still, it must’ve been a blow for Knight, as he would not return to magazine editing for nearly a decade—but thankfully he would return, if only for a short while again. It’s a bit of an odd coincidence that Knight edited two magazines in the ’50s and they both lasted only three issues under his watch; no more, no less. Of course, If was a reasonably ssuccessful magazine before Knight came along and it would persist long after he left, being something of a chameleon, changing colors depending on who’s running the show—for better or worse. Genre historians often make note of how If reinvented itself under Frederik Pohl’s editorship, but its transformation under Knight was almost as radical, as we’re about to see.

(Cover by Ed Emswhiller. If, December 1958.)

For most of the ’50s If was a second-tier magazine that sometimes published very good fiction but otherwise had little to distinguish itself. It began as a pet project for James L. Quinn, published by Quinn’s own company and with him as the editor for most of the decade. If‘s quality under Quinn fluctuated depending on who was working as Quinn’s assistant (i.e., doing much of the heavy lifting) at the time, but in 1958 Quinn let go of the reins (mostly) and gave them to Knight, so that while Quinn still kept an eye on things as the publisher, Knight suddenly had more control of the magazine than if he was “just” an assistant. As with Worlds Beyond, Knight also ran the book review column, which shouldn’t surprive anyone.

The October 1958 issue was the first to have Knight’s name on it, and if we’re being honest it’s a pretty weird issue on its face, just going by the theme. Yes, the October 1958 has a shared theme between the stories, although this was appearently done after the fact (the authors had no intention of their stories connecting somehow) and it was Quinn’s idea, not Knight’s. The idea was that we would get a chronology—let’s call it a future history—of mankind and space flight. It’s an obnoxious gimmick that didn’t actually amount to anything of substance, but there are still a few notable pieces here, including works by A. Bertram Chandler, one of the first stories by Richard McKenna (sadly gone too soon), and one of Cordwainer Smith’s more famous stories, “The Burning of the Brain.” Smith’s piece was part of a future history, but not the cobbled-together one that the issue proposes; instead it’s part of his Instrumentality series.

Something to keep in mind about Smith is that up to this point he had only appeared a few times in the magazines, with his work being a little too eccentric and ambitious for most editors at the time. Indeed his debut story as an adult, “Scanners Live in Vain,” took about five years to see publication, and only then in an obscure little semi-pro called Fantasy Book. Fred Pohl would later take an immense liking to Smith, even calling first dibs on all his work and printing most of it in the ’60s—but before Pohl there was Knight, who must’ve gobbled up whatever Smith had on hand, since every issue of Knight’s If had a Smith story. McKenna also appeared in all three issues, first under “R. M. McKenna” and then under his full name. Other big names include Fritz Leiber, Algis Budrys, Margaret St. Clair, Philip K. Dick, and even an early appearance from David R. Bunch, who would later become much associated with the New Wave.

A rule of thumb with magazines changing editors is that it takes several issues for the new boss to carry about their policy, since they would have a backlog of purchased stories to deal with and, after all, Rome was not built in a day. What’s impressive about Knight’s If is that in only three issues, the magazine was reshaped to fit Knight’s rather quirky parameters, becoming wholly his own by the second issue. The standard of the fiction had gone up, certainly, but combining that with Knight’s review column and his obvious bias with certain authors, I have no doubt that had If kept going like this for even another year or two it could’ve easily surpassed Galaxy, which at this particular point in time was not putting out its best work. H. L. Gold, at one point the finest editor in the field by a considerable margin, had become noticeably fatigued by the end of the ’50s, letting Pohl do a considerable amount of the heavy lifting for him before giving him the reins in light of a car accident that left Gold physically disabled.

Knight would have continued raising the bar for If, but Quinn saw a lack of profits for the magazine and decided to sell it to another publisher, and Knight did not come with the package. It was a loss even more arbitrary than the axing of Worlds Beyond—nothing more than cutthroat publishing industry nonsense. Knight went back to writing fiction, even trying his hand more earnestly at writing novels (not his strong suit), while If skipped what would’ve been the April 1959 issue before returning with the July issue, this time under a worn-out Gold as editor. For those keeping track it must’ve looked like If was on the verge of shutting down unceremoniously before returning in a somewhat regressed state; it would not come even close to the forefront again for several more years. But for a brief moment—all too brief—we got a glimpse of a magazine that started as one step above pulp that could’ve been a real contender.

The experience, of course, was not a total loss: Knight would return to editing again—only this time it was for books, not magazines. The first volume of Orbit appeared in 1966, with Knight expressing a noble mission statement of publishing science fiction that likely would not see print in any of the magazines—fiction that was too experimental, too mature, too literary for magazine editors (in the US, anyway) to touch. The plan worked. The Orbit series saw some very fine work by voices who probably would not have prospered in the magazine market at the time, including Kate Wilhelm, R. A. Lafferty, and most importantly of all, Gene Wolfe, who wrote such memorable stories as “The Fifth Head of Cerberus” and “Seven American Nights” with Knight as both editor and coach. The Orbit series proved the validity of both the New Wave and original anthologiess as an alternative market, and while it did occasionally print nigh unreadable garbage, Knight’s achievement here is hard to overstate.

With that said, I do occasionally think about what we lost…
Novella Review: “The Earth Quarter” by Damon Knight

September 10th, 2023

(Cover by Anton Kurka. If, January 1955.)

Who Goes There?

While he didn’t write bestsellers, Damon Knight had a pretty substantial impact on the direction American SF would take in the ‘60s, as author, critic, and especially editor. He started out as a critic in the ‘40s—one of the first serious book reviewers in the field—before trying his luck at short fiction. After all, a critic who can practice the art he criticizes has more legitimacy—at least to cranky writers who can’t take criticism. But Knight was pretty good at the short story thing, and nowadays that might be what he’s most known for, although his Orbit series of original anthologies was seminal in promoting the New Wave.

In the ‘40s and start of thr ‘50s Knight wrote some memorable shorts that very much operated in the O. Henry mode (see “To Serve Man”), but as the ‘50s progressed he grew more ambitious. “The Earth Quarter” struck me as maybe being a more substantial effort from Knight—an assumption that proved correct. This is one of the best SF novellas from the ‘50s that I’ve read, not just from the ingenuity of its plot but its depth of character and subtlety of implication. Knight gets a remarkable amount of work done in just under 20,000 words while also giving us one of the few truly anti-Campbellian narratives at a time when readers still treated John W. Campbell like he worked miracles. It’s a subversive and nasty little piece of work, but it reflects a humanism that was not too common in magazine SF then.

Despite its outstanding quality “The Earth Quarter” is a fairly obscure novella, which is why I was stunned to find that I’m not even the first person this month to have reviewed it. James Wallace Harris covered “The Earth Quarter” exactly a week ago for his site, in succinct and enlightening fashion. With that said, he did call it an immensely cynical work and I don’t think “cynical” is the right word here. I do think Knight wants to believe in the good of humanity, but, at least in this story, humanity’s optics are quite bad. It’s a story about the futility of racial supremacy—explicitly human supremacy and, more implicitly, white supremacy.

Placing Coordinates

First published in the January 1955 issue of If, which is on the Archive. Knight later expanded “The Earth Quarter” into a longer novella, “The Sun Saboteurs,” and you’re more likely to find that longer version in book form—made more confusing because that longer version would also be printed under the original (and better) title. Good news is that if you wanna read the original you can do it free and easy on Project Gutenberg, since apparently Knight cared little enough for the original version to let it fall out of copyright. “The Earth Quarter” being in the public domain actually gives me a fun idea, as I will eventually explain.

Enhancing Image

First a word about the circumstances under which this review is being written. It’s Saturday the 9th as I’m writing this and my laptop is still at the repair shop; therefore I’ve had to work on this site via suboptimal means. Unfortunately I don’t have the leisure to write to my heart’s content here, which is a shame because a lot can be said about “The Earth Quarter” and I’ll have to keep things concise—by my standards. I know that won’t mean much if you know me.

Anyway…

Good news: Mankind has not only voyaged out to the stars but come into contact with multiple intelligent alien races. Bad news: Earth itself is now little more than a dustbowl, with those left on the planet living almost like cavemen. Those who journeyed out to space aren’t doing a whole lot better, with little pockets of humanity scattered across planets owned by more advanced alien races and relegated to ghettos. Man has come to find that he is, in fact, at the bottom of the galactic food chain, more being allowed to live on other planets than to own that right.

This brings us to one of these ghettos, the Earth Quarter, “sixteen square blocks, about the size of those of an Earth city, two thousand three hundred human beings of three races, four religions, eighteen nationalities,” under the supervision of the Niori, a docile and bug-like race who nonetheless hold a metaphorical sword over the human refugees. We only see the Niori once and they’re not directly involved in the plot really, but Knight uses them as an example of how alien life can be akin to angels in relation to humanity. This is a story about humans, but I don’t think the point would quite get across if aliens were kept totally offscreen.

We’re introduced to Laszlo Cudyk, a local trader, thoroughly middle-aged and not one to take action himself; actually he’s almost as passive a protagonist as you can get, which normally would be a negative except that Cudyk’s passiveness is very much part of his character—his internal conflict. Cudyk claims to be neutral in a deeply political situation, between those who want to continue living in the Quarter, those who want to return to Earth, and those who want war with the Galactics, but he is ultimately a man at war with himself.

As for taking sides, we have two passionate and charismatic figures, both of whom have radical visions but with very different goals. On one side we have Harkway, who wants to gather people together and rebuild a fragment of civilization on Earth, “a liberal fanatic” as Cudyk calls him—I have to suspect with a bit of irony. In the opposite corner we have “Captain” Rack, a military veteran who clings to his rank despite Earth’s Space Navy having been defunct for two decades. Rack is the story’s villain, and he and his devoted underlings wanna rebuild Earth’s capacity for war—in this case war with the aliens. Not just galactic war but, Rack hopes, extermination of what he repeatedly calls “vermin.”

Let’s stop and think about how we actually don’t have a lot of great villains in old-timey SF. Sure, you have the Mule in Foundation and Empire and Baron Harkonnen in Dune, and if you want a more recent example we have Tomas Nau in A Deepness in the Sky; but pre-2000 SF doesn’t offer much in the way of great individual baddies. SF is more keen on abstractions and systemic terrors, such as tyrannical governments (consider that Big Brother is an iconic idea, but not an actual character), than flesh-and-blood people as antagonists. Had “The Earth Quarter” been a novel I think people would recall Rack as one of the great SF villains, because he such a delicious piece of shit.

Rack is a Jack London-esque figure in that he is charismatic, courageous, larger-than-life, a stone-cold adventurer—and also a violent racist. (London himself thought it a swell idea if whites could exterminate the Chinese and take their land.) Had Rack been in a story written for Astounding he would very likely be the protagonist, but here Knight shows us what a mad bastard like Rack would sound like from an outsider’s perspective. And yet, as Cudyk notes, Rack is technically not without redeeming qualities, for while he is several things, he is certainly not a coward. What makes him an effective villain is that while he is delusional and a genocidal maniac, he can also convince people to do his bidding—even murder those he deems his enemies.

Not that Knight was opposed to submitting to Astounding, as he did just that several times, but it’s clear that it was far from his go-to outlet and that this likely had to do with his ideological opposition to Campbell, who by the ‘50s had only become more of a reactionary. Astounding sort of leaned conservative really since its inception, but that conservatism became more pronounced when left-leaning alternatives (namely Galaxy and F&SF) entered the field, so that with exceptions it gained a reputation as a right-wing stronghold. “The Earth Quarter” reads like a reaction to a specific brand of SF that appealed to Campbell, that being SF which was overtly pro-human and/or pro-military. This reads as obvious now, but it must’ve been doubly so for those in the know at the time. The meaning behind Rack’s characterization is hard to misconstrue.

So the inciting incident of “The Earth Quarter” is Harkway making a speech about his vision for the future at what amounts to a town hall meeting, with Rack and his goons waiting in the wings. Cudyk and Seu, the “mayor” of the Quarter, try to keep Harkway from putting himself at risk, but it’s implied that Harkway has a death wish—that he wants to become a martyr for his cause. He almost gets what he wants, but one of Rack’s goons, in a moment of conflicting loyalties, spares him—if only tenporarily. Hours letter, Cudyk finds Harkway, slain, his face literally in the gutter. Denied a public death, Harkway’s absence allows Rack to make his move.

Before I get to spoilers I do have a few more notes to make, including a couple negative criticisms. Just some quibbles. At one point early on Knight describes one of the Chinese characters in racist language, which is a little puzzling since Knight was not a racist and he would’ve been well aware of how East-Asians have historically been denigrated as akin to rats, never mind that it slightly muddies the story’s anti-racism message. There are also no active female characters, with the single woman of any plot relevance, Kathy Burgess, only getting a line or two in and more acting as symbolism than as a character. This is a far-future tale, but gender relations are still very much of the ‘50s and the men are the people who get to do things.

On a more positive note, while descriptions of the Quarter are sparse, Knight crams in a few telling details, such as signs being in both English and Mandarin since the first humans to live in the Quarter were Chinese. While the main characters are mostly white, Knight makes it clear that this is a multi-ethnic community where people are stuck in the same boat. You could expand this short novella into something longer, as Knight would do eventually, but aside from fleshing out side characters I don’t think expansion would improve it much. This is a tightly packed narrative that knows its limitations and works almost like a stage play, which got me thinking…

Harris said that “The Earth Quarter” could work as an old-school film noir, and on a moderate budget since we stay in more or less the same location the whole time and there’s very little action. I agree, but I would go one step farther and say “The Earth Quarter” could be very feasibly adapted for the stage, to such an extent the novella as-is almost reads like a play written in prose already. Aside from Cudyk’s internal monologuing (which admittedly does add a lot to the narrative, but that can be worked around) you would lose nothing substantial by setting the action on a stage.

There Be Spoilers Here

I’m not a fan of the title “The Sun Saboteurs,” for one because it gives the vague impression that this is an action narrative, which it’s not; but it also hints at a plot development that becomes the story’s crisis point. Rack, having gathered enough followers and off-world connections via the black market, hopes to sneak off-planet and lead a fleet of human ships on what would surely amount to a suicide run. That Rack wants ti do battle with the Galactics is not even the worst part—it’s the fact that he has a nuclear weapon, a “hydrogen-lithium” bomb that, if thrown into a sun, would spark a chain reaction and kill a whole solar system.

The sun-bombing plot is the closest the novella gets to pulpy, and yeah, it’s a bit silly, but as a takedown of Campbellian militarism it makes sense. There’s realistically no way that Rack can restore humanity’s supposed former glory by doing this, but that’s not gonna stop him from taking down billions of intelligent beings with him. Luckily the plot is foiled as not only is the human fleet outgunned, but the Galactics have deployed nonlethal means which the humans could not have anticipated. We’re told all this after the fact, in a rather lengthy expository monologue from Rack. It’s clumsy, but if taken as part of a dramatic play it makes more sense to have us told about this far-off action than to be shown it.

The defeated and battered Rack will not stay down for long, though, and in a last ditch effort he tries recruiting men in the Quarter. The men have none of it. Rack almost gets away, but in a moment of stark conscience Cudyk finally makes a firm decisions and throws himself in Rack’s way, preventing his escape from the mob—and guaranteeing a violent death.

Upon regaining consciousness, Cudyk gets updated by Seu on the mob quite literally tearing Rack apart, and it’s implied that despite his civil demeanor Seu was one of those who played a direct part in Rack’s lynching. “There was a thin film of blood on the skin, and a dark line of it around each finger-nail.” Now isn’t that a lovely little nugget of show-don’t-tell? But the victory is a Pyrrhic one, as the Niori are evidently disgusted by the lynching and order the Quarter shut down, putting the humans on ships back to their ruined home world.

The ending is pretty bittersweet. Cudyk considers the irony of how, had he not been struck by conscience and stuck to his vow of neutrality, Rack would’ve very likely been taken in by the Galactics and the Quarter would’ve been allowed to persist. But then maybe this was a necessary push, for while life was possible in the Quarter, change was not. Life on Earth will be hell, but then maybe… Harkway will get what he wanted. Of course that’s an optimistic reading of the ending; it’s possible Knight intended the lights going out in the Quarter to represent a spiritual defeat for humanity.

But one can hope.

A Step Farther Out

A claim has often been made, even by people who know better, that SF was lacking in social awareness prior to a certain point in history (when that point would be is anyone’s guess), and this is obviously hyperbolic. Sure, SF—especially magazine SF—was not constantly turning out think pieces about racism and labor rights in the ‘50s, but the lack of social commentary only hits one’s nostrils if one takes everything literally; on an allegorical level there was quite a bit of social commentary going on, with a lot of left-liberal authors making their points under thin veils of symbolism and implication. With that in mind, “The Earth Quarter” succeeds as a gripping narrative, but it’s also a success as social commentary.

See you next time.
Serial Review: All Judgment Fled by James White (Part 3/3)

May 22nd, 2023

(Cover by Vaughn Bodé. If, February 1968.)

Who Goes There?

James White was one of the more successful British SF authors who did not (as far as I can tell) partake in New Wave antics in the ’60s. His loose Sector General series started in the ’50s and remained steadfast as a conventionally written setting for hospital dramas IN SPAAAAAAAACE, and his novel that I’ve reviewed, All Judgment Fled, is, excepting a couple passages (there’s a bit toward the end of Part 3 that references LSD), a pretty vanilla affair—which is not to say it’s boring. On the contrary, White is clearly a writer who considers the logical implications of his narratives, which naturally then snowball into ethical implications; he also has a sarcastic whit which at no point rang as irritating to mine ears. While my feelings on the novel are a bit mixed I do look forward to future adventures with White, especially since he’s one of those prolific magazine contributors and therefore someone (like Poul Anderson and Jack Vance) I fall back on for emergencies.

Placing Coordinates

Part 3 was published in the February 1968 issue of If, which is on the Archive. I’m not usually a fan of If‘s cover art, but the Bodé covers (we got too few of them, sadly) are very well done and eye-catching, including this one. As for book publication we only have a few editions to work with, for a novel that’s over half a century old, but you can find used copies cheap.

Enhancing Image

Before I get into the installment itself, I wanna talk a bit about what the past week has been like for me. If you’re reading this it means it’s May 22nd and by extention this post is two days late. I set deadlines for myself with these but I found out the hard way that there was just no doing this post on-time. I didn’t even finish reading Part 3 until the night of the 21st. Last week round this time I guested on a certain podcast, which went well and which you can expect to see at the beginning of June, probably back-to-back with my review forecast; that was not the hard part. No, the irony is that going on vacation can make it very hard to do things you normally do in your spare time. I had requested time off work and flew to Chicago (from Newark) on Friday, and only got back Monday. I was there to visit a couple friends I very rarely get the chance to hang out with in person; as such, combined with the brief time window I’d given myself, we crunched a week’s worth of fun times into three days. It was a good time, needless to say, but I also got precious little time to work on this site, hence the delay.

Now that I’ve said that, it’s time to finish this damn serial.

Last time we were with the boys, the mission had gone to hell. Morrison got killed by a Type Two, a tentacled creature with a giant horn and without any capacity to reason with the explorers. As violence has broken out on the Ship, a mysterious object orbiting between Mars and Jupiter, the higher-ups at Prometheus Control have been chastising McCullough (the audience surrogate) and company for their lack of professionalism. The Twos are hostile to the point of seeing the humans as food, which results in much of Part 3 being an all-out skirmish between the explorers and a horde of Twos, making for an extended action sequence that admittedly sort of struggled to hold my interest. A weakness of mine as a reader is that my eyes tend to glaze over when it comes to action, whith it being too easy for me to lose track of who’s dealing with what and who’s still alive and who has bitten the big bazooka. The action in Part 3 is especially confusing, partly (I suspect) deliberately and also because White refuses to give us a clear picture of the ship’s interior. The illustrations do a lot of leg work.

The most egregious example of White’s confusing laying out of action happens at the very beginning, wherein we’re told via narration that Drew has died—somehow. I wondered if I had missed something at the end of the previous installment, made worse because the recap section makes no mention of it—but no, Drew is not dead, he’s actually fine. The logic seems to be that in the heat of battle McCullough thinks Drew is dead, but this turns out to be a false alarm; the third-person narration sharing McCullough’s confusion is a hard pill to swallow, however. A similar case happens toward the end when (not getting into specifics here, because spoilers) a character has apparently died and the narration does not tell us this explicitly (unless I missed something, which is possible) until after the fact. Did he die offscreen? What happened? I’m getting ahead of myself.

We’ve discovered by now that the Ship is, or was, operated in all likelihood by a very small crew, and that the Twos wandering about looking for scraps are either non-sentient or driven (by something) to insanity. We never get a clear answer as to the nature of the Twos, but we do know that they’re an active threat to the explorers. Drew’s maddened call for extermination of the Twos (which is supposed to inform us that the explorers have basically reached rock bottom) does not come off as too unreasonable. Regardless, the mission has degenerated to such an extent that Prometheus Control and the explorers are all but no longer on speaking terms—a relationship that is about to get even rockier, if you can believe it.

McCullough sums it up nicely:

He realized suddenly that although he was terribly afraid for his own immediate safety he was furiously angry about the things they had done and were doing on the Ship. From the very beginning they had no control of the situation. It had been a stupid if well-intentioned muddle. And while they had changed their minds several times when new data became available they had not really used their brains. They had been panicked into things. They had not allowed themselves time to think. And when threatened with danger they thought only of survival.

The higher-ups at one point bring in a woman on the speaker to calm the men and reassure them with an incoming supply drop, but this doesn’t work too well. Keep in mind that said woman, whose name we never learn and who is called “Tokyo Rose” at one point (I get the reference, but it’s also a cute bit of symbolism with how the woman’s reassuring voice functions as and is acknowledged as basically propaganda), is the only female character in the novel; and she’s not really a character at that. From here on it’s all a war of nerves, of the explorers fighting off Twos while trying not to have total mental breakdowns. We do get some relief in the form of a new alien species with the Threes, which are like a cross between a snake and a teddy bear; I know that sounds like a weird combination. The Threes appear to be friendly, but are still not the intelligent alien(s) running the Ship that the explorers are looking for. This is the longest installment, so be prepared for a big third-act blowout and the summit of the conflict.

All Judgment Fled is technically a Big Dumb Object™ story, but that’s desceptive given how close-quarters the novel’s scale is. From start to finish we’re stuck with two small ships from the Prometheus Project and the Ship, which while nearly half a mile long is not spacious like the interior of, say, Rama. Comparisons will inevitably be drawn between White’s novel and Arthur C. Clarke’s undying classic, which depending on your worldview may or may not be favorable. If you’re looking for gosh-wow moments that provoke your inner child (what Rendezvous with Rama does in spades) then you’ll have no such luck with White’s novel. The setting is cramped, paranoid, claustrophobic, verging on inner space rather than outer with how much we’re stuck with the flawed humanity of the characters, but this is still a hard-headed old-school SF tale at the end of the day. McCullough, our lead, never becomes fully human in that his conscience never wanders from the physical problem at hand for long, but the novel still deals with the ethical equations of first contact more than some of its ilk.

It’s respectable is what I’m saying, if also cagey.

There Be Spoilers Here

After losing Drew (for real this time) and Berryman we finally get to have a “chat” with the alien that’s really running the Ship, and it looks—interesting. Another thing I gotta give White credit for is that we do not get any humanoid aliens here, with the different types vaguely resembling Earth animals but having nothing that could be mistaken for human. (I bring this up just so we can rest easy that none of the explorers go chasing lustily after some blue-skinned space babe.) The intelligent—and benevolent, wow how lucky—alien running the Ship is itself nightmarish in appearance to our battered explorers, “a great, fat, caterpillar, an LSD nightmare with too many eyes and mouths in all the wrong places.” Still the two species are able to communicate through visuals, since obviously verbal communication will do nothing, and ultimately we get a sort of cultural exchange.

Since half the human crew is dead there’s now few enough people to accommodate the reduced number of space suits, along with one of the P-ships no longer working. Which is all rather… convenient? If also morbid. I don’t totally buy the happy ending here, but then maybe White is not the kind of writer to totally fuck his characters over. J. G. Ballard would fuck shit up with this premise, which makes me wonder what this novel would’ve been like had it been a more ruthless deconstruction of first contact narratives—a premise that’s started here but not completely fulfilled.

A Step Farther Out

I know a couple people who prefer this over Rendezvous with Rama, and I can see the argument for it even though I ultimately have to disagree, because in some ways All Judgment Fled is the anti-Rama. Whereas the explorers in Clarker’s novel are always up against some tangible external problem that can be solved fine with bruce force or swiftness of speed, the conflict in White’s novel comes largely from the fact that the people heading the Prometheus Project failed to consider the possibility of interacting with alien lifeforms, not to mention explorers who might not be the most rational people; yet All Judgment Fled also feels incomplete somehow, whereas Rama is undoubtedly the complete package. This is a short novel, coming in at no more than 55,000 words, and truth be told it could’ve been 5,000 words longer, much of that devoted to scenery and character moments. The characters are not the flattest, but it can be easy to confuse some of them; half of them lack clearly defined roles but also nuance. White also has this thing for not describing places in any great detail, which made the action-heavy back end of the novel read as too abstract for my tastes.

Next post will be on time, trust me.

See you next time.
Serial Review: All Judgment Fled by James White (Part 2/3)

May 13th, 2023

(Cover by John Pederson. If, January 1968.)

Who Goes There?

James White was most popular in his time for the Sector General series, about a giant hospital station in space where conflicts comes not from epic space battles but doctors dealing with bizarre alien biology. White wanted to become a doctor but financial concerns at the time prevented this, although frankly I would’ve just assumed he was a doctor, going by what I’ve read of All Judgment Fled so far. I’m very curious about exploring White more, given his fascination with non-violent causes for conflict, and how violence isn’t treated as a solution but a catalyst for bigger problems.

Placing Coordinates

Part 2 was published in the January 1968 issue of If, which is on the Archive. Bad news is All Judgment Fled has not been given many paperback editions; good news is the few editions we have go for cheap used.

Enhancing Image

Now that we’re on the Ship, it’s time to do some exploring! The men of P-One (Drew, Morrison, and Hollis) and P-Two (McCullough, Walters, and Berryman) are officially stuck together, with the two small ships being now conjoined near the Ship to make moving between the two easy. Last time we hung out with the boys, Walters narrowly survived an encounter with one of the starfish aliens (now called a Type Two), and his suit is now basically unusable. This is a bit of a problem. For the men the suits are like a second layer of skin that, if removed, would greatly increase the risk of death, even though they don’t need the suits in the Prometheus ships; on the Ship it’s a different story. And apparently the aliens are hostile!

On top of all this, the men also have to deal with an increasingly cranky Prometheus Command, the top brass back home who are relaying the men’s actions back to Earth, with millions people (at least a billion, actually) tuning their radios to hear about what happens next. There’s a bit of meta hijinks going on here since McCullough is made all too vividly aware that the men’s sense of privacy has been eroded, that nearly their every move and word is being judged by a vast unseen audience—although unbeknownst to the characters that audience also encompasses readers. We’re given a better idea as to the relationship between the explorers and the rest of mankind, with this lop-sided arrangement that’s probably not good for the explorers’ mental health. Hollis was already on the verge of a breakdown in Part 1, but that turns out to be the least of the men’s problems.

Then there’s the question of the aliens’ intelligence. Frankly there’s no way to be sure. Somebody must’ve been intelligent enough to have built the ship, but the aliens that are actually onboard are unlikely to have been the culprits. The Type Two, for instance, is almost certainly non-sentient, but even then there’s no guarantee about that. Maybe up to now there’s just been failure to communicate. There are also at least two types of alien (as in, aliens that cannot be of the same species) that are on the Ship, and likely there’s a third species waiting for Our Heroes™ down the road. Still, despite the close encounters with aliens, the question as to who built the Ship remains perfectly unanswered—and yet conceivably it has to be something of at least the same intelligence as humans, and more likely of greater intelligence. White understands that in the highly unlikely event of first contact the aliens in question would be akin to angels—or an amoeba.

Their idea was simply that any piece of machinery beyond a certain degree of complexity—from a car or light airplane up to and including spaceships half a mile long—required an enormous amount of prior design work, planning and tooling long before the first simple parts and sub-assemblies became three-dimensional metal on someone’s workbench. The number of general assembly and detail drawings, material specification charts, wiring diagrams and so on for a vessel of this size must have been mind-staggering, and the purpose of all this paperwork was simply to instruct people of average intelligence in the manufacture and fitting together the parts of this gigantic three-dimensional jigsaw puzzle.

Speaking of first contact, Murray Leinster doesn’t quite get namedropped, but he gets the next best thing: a not very subtle hint directed his way. At one point McCullough, evidently a science fiction fan, thinks about “the old-time author responsible for a story called First Contact.” We also get a reference to another classic Leinster story, “The Ethical Equations,” and both these stories are indeed very much relevant to the current situation. White’s fannish side comes to the surface here, but at the same time it makes sense for the explorers to have been made at least somewhat familiar with classic science fiction, since SF would be the only even remotely useful reference point for their mission. I could fault White for a couple things, but over and over I find his logical outlook admirable; he takes something that with most writers would get pushed under the rug with some handwavium and he guides it along to a logical conclusion. There are no easy answers.

Part 2 does suffer a bit from what we might call Middle Installment Syndrome, in which the middle entry of a trilogy has to contend with not having a beginning or a conclusion, but making do as a big gelatinous second act. Why do people remember The Two Towers less than Fellowship of the Ring and Return of the King? Well, what happens in The Two Towers? We’re introduced to Gollum properly, that’s gotta be worth something; and we get the Battle of Helm’s Deep, often the most cited action set piece in the trilogy—yet going by IMDB and Letterboxd scores people aren’t quite as fond of The Two Towers as its siblings. Middle Installment Syndrome. I’ve come to realize that this also applies to novel serials, although I probably wouldn’t feel the “gelatinous second act” thing as much if I was reading All Judgment Fled as a single unit. Still, it’s short enough to not drag much.

There Be Spoilers Here

Things really go to shit in the second half of Part 2. The explorers kill a Type Two in another encounter, which is more or less accidental but which starts a snowball of paranoia and calls for violence among the men. As I supposed should be expected with White, violence is treated as something to be prevented as much as possible, since it will not solve issues but instead cause a snowball effect of greater violence. Command is not happy with how things are turning out, since at the outset this was supposed to be a mission that would unite mankind, rather than cause people to splinter on, for example, the treatment of alien lifeforms. “But now that the meeting had degenerated into violence, had become literally a blow-by-blow affair, the idea had backfired.” This culminates in the first fatality among the explorers, with Morrison, one of the most experienced men on the team, getting brutally killed by a Type Two. Even though we don’t get to know any of these men (except for McCullough) too much as individuals, Morrison’s death still works as a point of no return for the venture.

For better or worse, the men can only move forward.

After Morrison’s body is tucked away, the men keep searching through the big corridors of the Ship, coming upon rooms of different kinds, although McCullough seems to be the only one keeping his eye on the prize at this point. Most disconcerting is a room that almost resembles something humans would use—like a bedroom or a drawing-room. “A lab animal would not require a furnished room. Which meant that there were intelligent extraterrestrials on the Ship.” Maybe the Type Twos aren’t sentient, but somebody here sure is. And just as it looks like the men are about to hit a big clue as to the aliens’ nature, the Ship has started moving—away from the Prometheus ships. The Ship, which hitherto had been orbiting freely, is now moving on its own again. Well gosh darn it!

A Step Farther Out

It’s enjoyable, but there’s also something missing about it that I can’t put my finger on. It could be that there are too many characters that can be thought of as “nondescript white guy,” with only a couple standing out. That can’t be it, though. The characters in Rendezvous with Rama are made of cardboard, but that doesn’t bother me. I think it may be that White, unlike Clarke, is not concerned with evoking a Sense of Wonder™, which no doubt contributes to Rama remaining popular after half a century. White obviously has different goals from Clarke, which so far he’s been meeting admirably; it’s just that if you’re expecting a first contact narrative that’ll leave you breathless you’ll be disappointed. White does, however, have a special talent for making me think about the situation these characters are in—about logistical problems that would naturally arise from such a situation, but also the deep moral quandary that would come about in the event of first contact with a spacefaring alien race. Looking forward to how White’s gonna end this!

See you next time.
Serial Review: All Judgment Fled by James White (Part 1/3)

May 6th, 2023

(Cover by Douglas Chaffee. If, December 1967.)

Who Goes There?

James White was an Irish SF fan-turned-writer who was one of the many authors to have found his footing in the ’50s, and it was in that decade when he started his Sector General series—about a massive hospital in space that deals with many alien species. Rather than focus on hardboiled adventure narratives, White seemed to prefer to write about issues that naturally arise from psychology and biology; he wanted to practice medicine, but economic troubles apparently led him elsewhere. With this in mind I’m ashamed to say I’ve not read anything by White prior to today’s novel, All Judgment Fled, which is a one-off and which was serialized in If, as opposed to New Worlds, where the Sector General series was published. All Judgment Fled is a Big Dumb Object™ story, published in the midst of several famous BDO stories (notably Ringworld, and, more regrettably, The Wanderer), but White looks to add his own flavor to the basic premise.

Placing Coordinates

Part 1 was published in the December 1967 issue of If, which is on the Archive. (You may notice that this issue has been mislabeled on the Archive as the May 1967 issue. Somebody fucked up.) Also be aware that If and Galaxy under Fred Pohl’s editorship ~~well actually Galaxy also had this issue when H. L. Gold was in charge~~ have some pretty sloppy copy-editing, which may distract from the experience. Sadly there aren’t many paperback editions either; the most recent edition, from Old Earth Books, predates 9/11. The good news is that used copies still go for cheap.

Enhancing Image

In the near future (a future which rather closely resembles the space race in the years following the moon landing), a mysterious vessel is spotted orbiting our sun between Mars and Jupiter, “shaped like a blunt topedo with a pattern of bulges encircling its mid-section and just under half a mile long.” The Ship (with a capital S) is a massive cylindrical object that is no doubt artificial, and which has not responded to any attempts to contact it. Thus we have the Prometheus Project, a first contact mission wherein two small ships, P-One and P-Two, are sent out to rendezvous with the Ship. (If this sounds a bit like Rendezvous with Rama, keep in mind that All Judgment Fled came first.) Six of the sharpest minds in the space program, three to each ship, are set to spend more than five months locked up in tight quarters on their way to the Ship, with McCullough, the doctor on P-Two, as the closest we get to a protagonist. Perhaps not coincidentally, all six of the men chosen are unmarried; survival is not guaranteed.

Aside from McCullough on P-Two we have Berryman and Walters; and on P-One we have Drew, Morrison, and Hollis. McCullough is the only one of the six to have sufficient medical training, and while the ships are always in communication with each other, they’re still a good distance apart as they voyage out to the Ship. Berryman and Walters are trained astronauts while McCullough is the outlier; meanwhile on P-One Hollis is the noobie while Drew and Morrison are the veterans. While it must’ve been tempting for command to hire all veteran spacers for the voyage, a more diverse team (in profession, though it must be said not in skin color or nationality) was probably for the best. Certain skills might be needed…

Instead of six of the world’s acknowledged scientific geniuses there had been chosen four experienced astronauts and two under training who were not even known in scientific circles and were respected only by friends. All that could be said for them was that they had a fairly good chance of surviving the trip.

Something about this novel that struck me is that you can tell that it was written when the space race about the reach its climax. The moon landing was still more than a year off, but Yuri Gagarin had left Earth’s orbit several years prior and it’s quite possible White wrote the novel immediately following the Apollo 1 tragedy. It was widely known by this point that being an astronaut was dangerous—that blood had already been spilled in the name of the US and Soviet Union outdoing each other. As such, despite the peppering of light sarcastic humor throughout (more on this in a bit), there’s still this persistent sense that Our Heroes™ could meet an unfortunate end at pretty much any moment. Of course, space is scary enough; the astronauts also have to deal with each other.

The boys are stuck with each other, in living quarters “which compared unfavorably with the most unenlightened penal institutions,” having to eat paste through tubes, having to wipe themselves down with alcohol periodically since they can’t take water baths, having no idea at all what they’re gonna do exactly when they arrive at their destination. When Hollis comes down with a skin condition and McCullough has to venture out to P-One to take care of him, there’s some worry—not just for Hollis’s body, but his mentality, which doesn’t look good either. McCullough doesn’t have to prod Hollis for long before the latter starts ranting about his co-workers. “A person could say an awful lot about themselves by the way they talked about someone else.” It’s clear to McCullough that Hollis is threatening to have a mental breakdown—that he’s having paranoid delusions about Drew and Morrison, whom he claims have snuck a “Dirty Annie,” a small nuclear weapon, into P-One. Even after Hollis is calmed down, it’s clear that this man’s instability will probably contribute to later problems.

Both the characters and the third-person narrator engage in some banter, which makes sense given the situation; few things deflate tension like humor. Actually while I have my reservations about the characters themselves, I don’t fault White for bordering the narrative with jokes—helped by White’s sense of humor (in my opinion) being often effective and unintrusive. While the BDO story had certainly not been done to death at this point (give it another decade), White’s deconstructing of the premise almost feels like commentary on the basic premise and how in reality, if we were to make contact with some alien vessel in our solar system, things would be much less glamorous than what Hollywood gives us. The lack of imput from the outside world, despite us being told about millions of eyes and ears keeping track of the voyage, only adds to the isolation and claustrophobia.

There Be Spoilers Here

So we finally get to the Ship, and we even meet some aliens, although these are far from little green men. The aliens are obviously intelligent enough to have built the Ship, but whether they’re capable of understanding human speech or even gestures is another question. “We know,” says McCullough at one point, “that they do not have fingers, and may have a two-digit pincer arrangement.” Turns out they have even less than that (or more, depending on how you look at it), with one alien looking like an actual starfish while another resembles a dumbbell. Between Hollis’s paranoia, Walters nearly dying from getting a tear in his spacesuit, and the aliens being totally unintelligible, Our Heroes™ have some work to do.

Stay tuned.

A Step Farther Out

I’m cautiously optimistic about this one. I occasionally find White’s attempts at dry humor chuckle-worthy, but I’m not sure if this is the norm for him or something unique to this novel. We’re also about a third into All Judgment Fled and the action has barely started; this is not the fastest of reads, despite being short overall. At the same time White is focusing on things that are not normally dwelled on in Big Dumb Object™ stories, namely the logistical and psychological cost of coming into contact with a BDO in the first place. McCullough and crew are not the most vividly drawn of characters, but their uneasy dynamic should be fruitful for future conflicts. Given the nature of the aliens this may also prove to be an unorthodox first contact narrative, since we’re not dealing with humanoids or even seemingly aliens capable of verbal speech. I’m already prepping to start Part 2.

See you next time.